Yo la vi y escuché , en vivo, representada, hace como 15 años,por una compañía alemana que vino por éstos pagos. La obra resiste . Los tiempos. Lugares. Idiomas.
Criticism: Since i only read French imperfectly, i could really use English subtitles. Praise: The ballet sequences are beautiful, and the singing is great too!
Вступ 1:59 Тема Аиды 3:16 Тема жрецов 1 действие 1 картина 8:24 Романс Родамеса «Милая Аида» 21:38 Хор «К берегам священного Нила» Ария Аиды 25:36 «Безумное слово» 28:38 Молитва «Боги мои» 2 картина 32:00 Песня великой жрицы 35:41 Священный танец жриц 2 действие 4 картина 1:02:29 Финал 2 действия «Марш» 3 действие 5 картина 1:25:12 Вступ 1:31:37 Ария Аиды «О край родимый» 4 действие 7 картина 2:24:22 Дуэт «Прощай Земля»
Por fin una producción respetuosa del argumento, entre tanta porquería que suben de producciones nauseabundas europeas y ahora también que infestan al Met. ¡Gracias!
Pedro Colino Martin---Gracias a RUclips he podido conocer a estas alturas(85 años)la belleza de las Operas asi como los Ballets.y AIDA me encanta asi como otras mass como CARMEN ,etc.etc. GRACIAS UNA VEZ MAS
A chi è abituato ad un Radames in chiave eroica (es. Mario Del Monaco) è chiaro Meli faccia uno strano effetto, ciononostante è ormai risaputo sia un conoscitore di tutto rispetto della materia. E che sia sempre attento alle intenzioni del compositore. Ho sempre letto commenti di talebani irricevibili i quali asserivano che Del Monaco è il Radames definitivo perché "vero tenore eroico", ma la romanza "Celeste Aida" non è il canto di un prode guerriero pronto alla pugna: capisco che l'incipit possa trarre in inganno ("Se quel guerrier io fossi...", "Un esercito di prodi..."), ma è sostanzialmente la romanza di un innamorato che fantastica sulla sua amata. Questo l'ha capito Meli, così come (a mio avviso) l'avevano/l'hanno capito Corelli, Di Stefano Bergonzi, Pavarotti, Licitra e Ganci, mentre trovo non fosse stato compreso da Del Monaco, Bonisolli, Martinelli e Alagna (almeno per quanto riguarda la famigerata esibizione scaligera).
I have to disagree with you. It might not be that tenors in Verdis lifetime were always heroic in voice but it sure helps if they are. The aria is kind of on two tracks simultaneously Radames is a warrior and has ambitions to be a victorious general and maybe a king and he loves AIDA and believes he can win her through the status he will gain thru battle So his singing is very passionate virile and forceful reflecting his ambition to gain power singers like Franco Corelli whose voices are robust but at the same time highly expressive and lyrical are the ideal but if they're not available producers have to employ less powerful more lyric singers.
Como todas las producciones de La Fenice, esta es magnífica y elocuente. Eñ único problema es que uno no alcanza a ver los nombres de los intérpretes y el director. En todo caso, ¡BRAVO!
Francesco Meli bravissimo. Un giorno canteró come te! Un abraccio da Brasile. Buone ricorde di questo teatro meraviglioso in Venezia. Torneró li con la mia famiglia subito
I'm trying to avoid the Blue Angels jet noise here in San Francisco. So i have my ears stuffed with cotton, and head phones blasting opera into my ears. I chose to listen to Aida today because it's one of my 5 favorite operas.
...Cannot belive I´ve read so much complaints ... the whole planet is in deep crisis and some people still complaint about these performances .... shame on them ... regards from Medellín, Colombia : enjoying this unexpected present ...
Hi from Barnsley, Yorkshire UK. It's amazing that people think every performer should be as perfect as they wish them to be. I totally agree with your comments and would also like to add that people should listen and enjoy, not analyse everything. The world would be a smaller place if we all liked the same thing.
The pattern example of how not to perform 'Aida' or any opera, for that matter. It would weary me to no end listing everything that is wrong here, of which the singing is not the least. The quality of the upload is fine. Thanks for sharing.
Il grande spettacolo di Riccardo Frizza, profondo psicologico, e poco alla maniera dello belcanto, i cantanti non solo cantavano, ma anche musicavano, usavano la mezzavoce. Non un singolo urlo! Il cast - i veri belcantisti, Roberta Mantegna (Imogene notèvole), Francesco Meli (Contarini, Percy), e, naturalmente, il grand baritone Roberto Frontali (Filippo Visconti, lord Ashton etc.etc.). E qualche disperazione era in voce di Irena Roberts alla scena di tribunale! Qualche amore in voce di Francesco Meli in finale! Roberta Mantegna cantava "O cieli azzurri" come nessuno dopo di Maria Caniglia. La scena migliore - il duetto di Aida e Amonasro, Mantegna e Frontali. Bravi tutti!
Ci sarebbe anche una certa Maria Chiara .....in quanto a Meli .eccelente tenore ma questa non è la sua opera .. non si può nascondere certi passaggi dietro note in falsetto ...
@@blustella6555 Grazie mille per la vostra risposta. Sì, sono d'accordo con Lei riguardo a Meli, è vero, le voci di Pisapia o Sartori pìu adattono a ruolo di Radames, ma Meli per me non rovina l'impressione generale dello spettacolo. Come ha scritto uno commentatore: "Finalmente, una produzione con tanti cantanti italiani." .. Maria Chiara era una cantatrice perfetta, e conoscemo anche altri bravi interpreti di Aida, come, per esempio, Fiorenza Cedolins, ma Roberta Mantegna ha una qualità rara, lei non solo canta, lei vive sul palco, come vivevano Maria Caniglia e Cecilia Gasdia.
Fantastic production and great cast! I do wish they hadn’t messed with the performers’ skin color though. It’s very apparent and quite tasteless, taking away from an otherwise brilliant performance
This same production, premiered at La Fenice, back in 1977/78, was last seen in Lisbon (1999) with Ana Maria Sanchez, Walter Fraccaro, Irina Mishura and Alexandru Agache.
Très sobre et beau! Néanmoins, les couleurs trop sombres pour un pays de soleil ainsi qu'inadéquates pour l'époque. La division en 2 plans est très réussie. J'ai apprécié les expressions de visage d'Amnèris malgré que je m'attendais à ce qu'elle chute d'impuissance accompagnant les mouvements de la musique. La partie de l'anathème est aussi très réussie. Radamès est excellent. Je n'ai jamais vu de beaux ballets dans cet opéra... je ne sais pas pourquoi, il faut améliorer cela. En tout cas, c'est une mise en scéne originale. J'ai eu beaucoup de plaisir. Merci. Et bravo!
Radames is a role for dramatic or spinto tenor (at least). As much as I like Francesco Meli, his beautiful lyric voice is not for Radames. The remaining main roles suffer from similar problems. Watch the old Arena production of Aida with Maria Chiara, Nicola Martinucci and Fiorenza Cossoto and you will understand what I mean.
Right. Besides, the abuse of head/mixed pianissimo voice, apart from being non-theatrical and 'fuori stile' ('Se quel guerrier' sung like Dowland), always ends up destroying the tenor voice. What's happening nowadays with Meli (too wide vibrato for a singer his age) proves it once again.
@Bravo Luca I don't think Italians are being racist when they do blackface they just don't think like Americans from a racially diverse society. To them it's a traditional thing and opera is a traditional art form. I'm sure a black or Asian Desdemona in Italy would wear a white 'bionda' makeup because the libretto calls for it, has nothing to do with racism.
@Bravo Luca Then they have the right not to wear blackface and the audience have the right not to see a 'white' Aida. Democracy is all about freedom of choices, non e' vero? My original post was an observation of America's political correctness culture, doesn't mean I agree with it.
As an Italian, I do not think it comes from a place of racism either, but I still find it unnecessary and really unflattering nonetheless. Come on, you can't tell me it looks good or adds anything to the performance at all
May anyone inform me about the day and month (the year is 2019) this magnificent operatic jewel was alive performed? Please be kind enough to indulge me...! Thank you!
Rettifico quanto ho scritto: ci sono eccome, basta avere la pazienza di scovarli: Lorenzo Papasodero, Diego Cavezzin, Luciano Ganci sono tra questi. Meli comunque, se uno ci si abitua, non è male. È adatto al ruolo in verità.
This Aida has much to be proud of. I like the performance and will not single out any specifics. The sound techs could have placed microphones in place which would have been more advantageous to the singers when singing with the total ensemble.
Two quarter notes? That doesn’t make any sense. Perhaps you meant two quarter tones (i.e. one half step). Misnomer aside your oscilloscope need calibration URGENTLY
@@kevinmurray1324 also one of the harder small tenor roles. It's exposed, but at least it's a real moment onstage. Rewarding. The other greats ones are the Emperor in Turandot and the holy fool in Boris
Y que ni ahí me vengan con historias de bulyng o como sea se escriba. Yo amo la ópera, el arte, la poesía. Digo que por eso trascendí un cachito y en algo la vida cotidiana. Gracias a mis maestras y profesores y profesoras. Ellas y ellos se ocupaban de mis hambres. Ni ahí de mi falta de comida. Pero ahora se está así. En ése ¿ nivel de discusión? O de juntar un peso para matar el hambre o la sed. Me jodes?
overall is pretty ok but a bit heavy overall heavy costumes. lights orchestral levels ... ... except, mostly, the voices not quite dramatic enough for this opera
Yo pongo 1 peso , como piden en los super, juro, para terminar, en serio, con la hambruna en el mundo. Y hasta otro mas pongo para acabar con el tema de la falta de agua, en ciertas zonas. Y otro más, si querés, para que terminen las guerras. Hasta 5 pesos estoy dispuesta , dado mi bolsillo y presupuesto,a poner para grandes causas. Ponele que ponga los 2 restantes a creaciones , novedades, arte, revoluciones mismo. Tipo cambio de paradigma. Según me enseñaron es duro de cambiar 😅😢
Un ténorino dont la voix bouge gravement dans Radamès, une fausse mezzo, soprano qui tente d'avoir des graves, une soprano passe partout au timbre ingrat pour Aïda. Décidément l'art lyrique est en plein déclin. Pour savoir ce qu'est Aïda, écoutez Leontyne Price, Jon Vickers, Rita Gorr et Robert Merill.
The big voices are dead and are not produced anymore. Unfortunately. It's a pity because the staging is really good, but the Singers not really, no chest voice no dramatic attack...
Too weak tenor Radames'. I've heard ones with stronger voices. If you have to sing with two strong voiced ladies at the same time, your voice must not disappear. Aïdas voice is beautiful. I don't like screaming voices as some Violettas in La Traviata.
@@tonio7367 Do you need to direct films to see that a Dolph Lundgren action movie is a piece of shit? Or do you need to be terribly funny to know a comedian is awful? This falacy doesn´t work here.
Not great, not terrible, just sort of lackluster. I'm not sure what the Grand March ballet was supposed to convey, but it just came across, like so many other elements, as kinda meh.
I was so excited to see this production... the costumes the musicality all impressive but then it all came to a screeching halt when I saw Black Face. Black Face.... all the fabulous black talent and they decide to paint a white woman black! I'm Disgusted.
Escuchando intdrcambios y ni qué decir a docentes y maestros de todo pelo. Me viene un escallfrio. La pregunta que me hago y les hago: Disculpa: Cuál era tu vocación? Conocí hace años a una señora directora de comedor escolar. Ella se ocupaba de almuerzos y garrafas para cocinar. Hace menos de una semana me encontré con una maestra , conocida, que acaba de jubilarse. Feliz estoy me dijo: Ahora ya no hay compromiso. Nosotras cargábamos con bolsas de comestibles para las familias de los gurises. En serio? Pregunté ¿ y qué energías , tiempos, dedicación para enseñar materias, temas, análisis, razonamiento, cuentas les quedaba? Ay pobrecitos! Si no comen no pueden pensar. Mas menos dijo. Hay una falta de respeto generalizada. Concluyo. Por ser amable. Una vez más.😅
The lighting of this production is too dark, you cannot see the expression of the singers Aida’s dark complexion is lost in the darkness you can only hear her.its a shame ! It’s like there is a power outage it’s a shame the whole production is ruined, feel sorry for the singers how can they even see the conductor? Ridiculous production!
Hoy escuché , en programa de tv, intercambio sobre obra de un grande del carnaval. Bueno que en fin. Yo prefiero escuchar en " crudo". A mi, en lo personal insisto, ni me gustó , ni me gusta el tema La hermana de la coneja. Educlcorantes a los frasquitos. Con otras creaciones, suelo escuchar, como por ejemplo: Mi propiedad privada dd Rosamel Araya O de Javier Solis , casi cualquiera, jajaja Bueno , en fin. Arte una cosa. Pavada otra. Y ni que decir de la hjptz.
Blackfacing in the year 2018? Why is the opera world still so ignorant and backwards? When soprano Tamara Wilson refused to do it a few years back in Verona, she caused a scandal. Unbelievable and embarrassing. We should not forget that most composers were always trying to achieve something new and modern, ahead of their time. So spare me argueing with "this is what Verdi wanted".
I saw the "This is Cinerama" version of the Grand March in Detroit in 1953. I still recall that version of the Grand March 69 years later.
8:24 celeste Aida
19:44 messaggero
24:19 ritorna vincitor
31:57 scena 2
35:41 danza sacra delle Sacerdotesse
42:46 atto ii
45:35 danza dei piccoli schiavi
59:13 gloria all'Egitto
1:02:30 marcia
1:45:49 odimi Aida
1:53:13 vieni meco, insiem fuggiamo
Muchas gracias
Les mélodies sont si envoûtantes… cet opéra demeurera toujours parmi les plus grandioses.
,,
Yo la vi y escuché , en vivo, representada, hace como 15 años,por una compañía alemana que vino por éstos pagos.
La obra resiste .
Los tiempos.
Lugares.
Idiomas.
Criticism: Since i only read French imperfectly, i could really use English subtitles. Praise: The ballet sequences are beautiful, and the singing is great too!
Edizione stupenda,grande Fenice.Con i teatri in declino la Fenice tiene duro Grazie x averla messa in rete.
Il migliore teatro
Concordo bravissimi tutti!!
The dramatic temperature really rises with Frontali's entrance as Amonasro. How important it is to have a strong singer in this role.
Semplicemente magnifico ! Grazie!!!!!!
Finalmente, una produzione con tanti cantanti italiani.
Non e' buono!
Stay away! #covid19
Вступ
1:59 Тема Аиды
3:16 Тема жрецов
1 действие 1 картина
8:24 Романс Родамеса «Милая Аида»
21:38 Хор «К берегам священного Нила»
Ария Аиды
25:36 «Безумное слово»
28:38 Молитва «Боги мои»
2 картина
32:00 Песня великой жрицы
35:41 Священный танец жриц
2 действие 4 картина
1:02:29 Финал 2 действия «Марш»
3 действие 5 картина
1:25:12 Вступ
1:31:37 Ария Аиды «О край родимый»
4 действие 7 картина
2:24:22 Дуэт «Прощай Земля»
Por fin una producción respetuosa del argumento, entre tanta porquería que suben de producciones nauseabundas europeas y ahora también que infestan al Met. ¡Gracias!
Exacto!
Merveilleux merci pour ce partage
Pedro Colino Martin---Gracias a RUclips he podido conocer a estas alturas(85 años)la belleza de las Operas asi como los Ballets.y AIDA me encanta asi como otras mass como CARMEN ,etc.etc. GRACIAS UNA VEZ MAS
人生で一回は劇場で直接観劇したいオペラです。
Viva Verdi
Maestro Štefan Kocán, bravo! 👏👏👏
aida, a obra prima de verdi. A favorita de muitos amantes da ópera!
Io c'ero, bellissimo spettacolo. Grande lavoro, grande Fenice, grande Venezia!
Bravo!
A chi è abituato ad un Radames in chiave eroica (es. Mario Del Monaco) è chiaro Meli faccia uno strano effetto, ciononostante è ormai risaputo sia un conoscitore di tutto rispetto della materia. E che sia sempre attento alle intenzioni del compositore.
Ho sempre letto commenti di talebani irricevibili i quali asserivano che Del Monaco è il Radames definitivo perché "vero tenore eroico", ma la romanza "Celeste Aida" non è il canto di un prode guerriero pronto alla pugna: capisco che l'incipit possa trarre in inganno ("Se quel guerrier io fossi...", "Un esercito di prodi..."), ma è sostanzialmente la romanza di un innamorato che fantastica sulla sua amata. Questo l'ha capito Meli, così come (a mio avviso) l'avevano/l'hanno capito Corelli, Di Stefano Bergonzi, Pavarotti, Licitra e Ganci, mentre trovo non fosse stato compreso da Del Monaco, Bonisolli, Martinelli e Alagna (almeno per quanto riguarda la famigerata esibizione scaligera).
I have to disagree with you. It might not be that tenors in Verdis lifetime were always heroic in voice but it sure helps if they are. The aria is kind of on two tracks simultaneously Radames is a warrior and has ambitions to be a victorious general and maybe a king and he loves AIDA and believes he can win her through the status he will gain thru battle So his singing is very passionate virile and forceful reflecting his ambition to gain power
singers like Franco Corelli whose voices are robust but at the same time highly expressive and lyrical are the ideal but if they're not available producers have to employ less powerful more lyric singers.
Bellisima reprezentațione fel teatro Veneziano .
Como todas las producciones de La Fenice, esta es magnífica y elocuente. Eñ único problema es que uno no alcanza a ver los nombres de los intérpretes y el director. En todo caso, ¡BRAVO!
Semplicemente stupenda e grazie un mondo
Francesco Meli bravissimo. Un giorno canteró come te! Un abraccio da Brasile. Buone ricorde di questo teatro meraviglioso in Venezia. Torneró li con la mia famiglia subito
Magnifica
I'm trying to avoid the Blue Angels jet noise here in San Francisco. So i have my ears stuffed with cotton, and head phones blasting opera into my ears. I chose to listen to Aida today because it's one of my 5 favorite operas.
"VIVA ITALIA, VIVA IL MIO TATARAVO GIUSEPPE VERDI
"
Minha ópera favorita!!!!!!VIVA Verdi! !!!!!!!!!💖💖💖💖💖💖💖💖💖
На удивление, у артистки, игравшей "дочь фараона", очень приятный голос, без грубых и мужеподобных нижних нот, как это нередко встречалось!
...Cannot belive I´ve read so much complaints ... the whole planet is in deep crisis and some people still complaint about these performances .... shame on them ... regards from Medellín, Colombia : enjoying this unexpected present ...
Hi from Barnsley, Yorkshire UK. It's amazing that people think every performer should be as perfect as they wish them to be. I totally agree with your comments and would also like to add that people should listen and enjoy, not analyse everything. The world would be a smaller place if we all liked the same thing.
"Critical thinking" is not the same thing as complaining. EVERYTHING requires scrutiny, not just things that hurt the planet.
spettacolo elegante e cast eccellente. peccato non averlo visto dal vivo....
The pattern example of how not to perform 'Aida' or any opera, for that matter. It would weary me to no end listing everything that is wrong here, of which the singing is not the least. The quality of the upload is fine. Thanks for sharing.
Well don’t mention them. Just sit back and enjoy to performance.
Bello !!!! bravi rag!azzi tutti
I keep coming back to watch Amneris break down in Act 4.
Il grande spettacolo di Riccardo Frizza, profondo psicologico, e poco alla maniera dello belcanto, i cantanti non solo cantavano, ma anche musicavano, usavano la mezzavoce. Non un singolo urlo! Il cast - i veri belcantisti, Roberta Mantegna (Imogene notèvole), Francesco Meli (Contarini, Percy), e, naturalmente, il grand baritone Roberto Frontali (Filippo Visconti, lord Ashton etc.etc.). E qualche disperazione era in voce di Irena Roberts alla scena di tribunale! Qualche amore in voce di Francesco Meli in finale! Roberta Mantegna cantava "O cieli azzurri" come nessuno dopo di Maria Caniglia. La scena migliore - il duetto di Aida e Amonasro, Mantegna e Frontali. Bravi tutti!
Ci sarebbe anche una certa Maria Chiara .....in quanto a Meli .eccelente tenore ma questa non è la sua opera .. non si può nascondere certi passaggi dietro note in falsetto ...
@@blustella6555 Grazie mille per la vostra risposta. Sì, sono d'accordo con Lei riguardo a Meli, è vero, le voci di Pisapia o Sartori pìu adattono a ruolo di Radames, ma Meli per me non rovina l'impressione generale dello spettacolo. Come ha scritto uno commentatore: "Finalmente, una produzione con tanti cantanti italiani." .. Maria Chiara era una cantatrice perfetta, e conoscemo anche altri bravi interpreti di Aida, come, per esempio, Fiorenza Cedolins, ma Roberta Mantegna ha una qualità rara, lei non solo canta, lei vive sul palco, come vivevano Maria Caniglia e Cecilia Gasdia.
W VERDI ❤❤❤
Fantastic production and great cast! I do wish they hadn’t messed with the performers’ skin color though. It’s very apparent and quite tasteless, taking away from an otherwise brilliant performance
This same production, premiered at La Fenice, back in 1977/78, was last seen in Lisbon (1999) with Ana Maria Sanchez, Walter Fraccaro, Irina Mishura and Alexandru Agache.
Grazie per bellissimo spettacolo!!!!!!
Beautiful production. So many experts in the room. Why can’t they just enjoy instead of criticizing because it doesn’t suit your taste.
Très sobre et beau! Néanmoins, les couleurs trop sombres pour un pays de soleil ainsi qu'inadéquates pour l'époque. La division en 2 plans est très réussie. J'ai apprécié les expressions de visage d'Amnèris malgré que je m'attendais à ce qu'elle chute d'impuissance accompagnant les mouvements de la musique. La partie de l'anathème est aussi très réussie. Radamès est excellent. Je n'ai jamais vu de beaux ballets dans cet opéra... je ne sais pas pourquoi, il faut améliorer cela. En tout cas, c'est une mise en scéne originale. J'ai eu beaucoup de plaisir. Merci. Et bravo!
Arte en fin.
grazzie
31:55 Consecration Scene
2:18:03 Final Scene
𓁨 𓁟 𓁚 𓄍 𓅊 𓂀 𓅊 𓄎 𓁬 𓁞 𓁬
𓁿 Imenso Phtà 𓁿
32:00
35:40
39:10
41:23
𓃬 Glória all'Egito 𓃬
59:10
1:08:38
Grazie
Superbe 👍
Radames is a role for dramatic or spinto tenor (at least). As much as I like Francesco Meli, his beautiful lyric voice is not for Radames. The remaining main roles suffer from similar problems. Watch the old Arena production of Aida with Maria Chiara, Nicola Martinucci and Fiorenza Cossoto and you will understand what I mean.
Right. Besides, the abuse of head/mixed pianissimo voice, apart from being non-theatrical and 'fuori stile' ('Se quel guerrier' sung like Dowland), always ends up destroying the tenor voice. What's happening nowadays with Meli (too wide vibrato for a singer his age) proves it once again.
Are they going to delete the videos or will it remain in the channel?
Was the blackface necessary at all?!?
In America they would not like Roberta Mantegna singing Aida in a black face makeup.
@Bravo Luca I don't think Italians are being racist when they do blackface they just don't think like Americans from a racially diverse society. To them it's a traditional thing and opera is a traditional art form. I'm sure a black or Asian Desdemona in Italy would wear a white 'bionda' makeup because the libretto calls for it, has nothing to do with racism.
Thank god we live in Europe, where putting on makeup to play an AFRICAN queen won’t get you drawn and quartered.
@@meto2854 I agree. Political correctness in America is a double-edged sword.
@Bravo Luca Then they have the right not to wear blackface and the audience have the right not to see a 'white' Aida. Democracy is all about freedom of choices, non e' vero? My original post was an observation of America's political correctness culture, doesn't mean I agree with it.
As an Italian, I do not think it comes from a place of racism either, but I still find it unnecessary and really unflattering nonetheless. Come on, you can't tell me it looks good or adds anything to the performance at all
42:41 - 47:46
my favorite part ever.
39:10
Japanese SUMO style
I wish the subtitles were in Italian!
May anyone inform me about the day and month (the year is 2019) this magnificent operatic jewel was alive performed? Please be kind enough to indulge me...! Thank you!
The month was May - don't know the day
prima rappresentazione il 18 maggio 2019.
Meli Rasames proprio no! Mi spiace ma per certe parti verdiane ci vogliono tenori "di potenza"!
Purtroppo non ci sono e dobbiamo accontentarci
Rettifico quanto ho scritto: ci sono eccome, basta avere la pazienza di scovarli: Lorenzo Papasodero, Diego Cavezzin, Luciano Ganci sono tra questi. Meli comunque, se uno ci si abitua, non è male. È adatto al ruolo in verità.
So even in a major Italian opera house today it is impossible to mount a decently-sung Aida. The whole thing lacks energy.
На уши Аиды краски не хватило😂😂😂😂 Аида не Аида😮
Moyen
1:55
This Aida has much to be proud of. I like the performance and will not single out any specifics. The sound techs could have placed microphones in place which would have been more advantageous to the singers when singing with the total ensemble.
Francesco Meli's vibrato is so bad, he's wavering between two quarter notes!
Not to be mistaken for the majestic MeRli of a (sadly) bygone era.
that's an exagerated statement
Two quarter notes? That doesn’t make any sense. Perhaps you meant two quarter tones (i.e. one half step). Misnomer aside your oscilloscope need calibration URGENTLY
The messenger stole the show!
@@kevinmurray1324 also one of the harder small tenor roles. It's exposed, but at least it's a real moment onstage. Rewarding. The other greats ones are the Emperor in Turandot and the holy fool in Boris
Buona edizione
🎉
"Tu sei la Reina"??????????????
Si sarà impappinato per una qualche ansia da palcoscenico
Y que ni ahí me vengan con historias de bulyng o como sea se escriba.
Yo amo la ópera, el arte, la poesía.
Digo que por eso trascendí un cachito y en algo la vida cotidiana.
Gracias a mis maestras y profesores y profesoras.
Ellas y ellos se ocupaban de mis hambres.
Ni ahí de mi falta de comida.
Pero ahora se está así.
En ése ¿ nivel de discusión?
O de juntar un peso para matar el hambre o la sed.
Me jodes?
Too dark
Miguel Sousa :: I think you're right.
El Meli mal ,malisimo como Radamés..comentarios como :"por fin ,sólo italianos en la producción " son xenófobos ,excluyentes y de la Italia profunda
e il soprano Roberta Mantegna?
Аида!!! Хорошие. Но в постановках последнего времени слишком много балетного "мяса"..
overall is pretty ok but a bit heavy overall heavy costumes. lights orchestral levels ... ... except, mostly, the voices not quite dramatic enough for this opera
32:43
33:50
34:56
Amonasro BIONDO????? Nooooooo
Per carità !!!!
Looks more like Hunding :)
Don't worry. You have the tenor is painted black face. Hahahhahaha
Ecco appunto .un etiope biondo....ma dai ..sembrava un vichingo non certo un etiope ...x il resto un aida pregevole ..
Yo pongo 1 peso , como piden en los super, juro, para terminar, en serio, con la hambruna en el mundo.
Y hasta otro mas pongo para acabar con el tema de la falta de agua, en ciertas zonas.
Y otro más, si querés, para que terminen las guerras.
Hasta 5 pesos estoy dispuesta , dado mi bolsillo y presupuesto,a poner para grandes causas.
Ponele que ponga los 2 restantes a creaciones , novedades, arte, revoluciones mismo.
Tipo cambio de paradigma.
Según me enseñaron
es duro de cambiar 😅😢
Aida needed to use her chest voice...
Un ténorino dont la voix bouge gravement dans Radamès, une fausse mezzo, soprano qui tente d'avoir des graves, une soprano passe partout au timbre ingrat pour Aïda. Décidément l'art lyrique est en plein déclin. Pour savoir ce qu'est Aïda, écoutez Leontyne Price, Jon Vickers, Rita Gorr et Robert Merill.
Can you sing darling? Why don't you try?
The big voices are dead and are not produced anymore. Unfortunately. It's a pity because the staging is really good, but the Singers not really, no chest voice no dramatic attack...
Too weak tenor Radames'. I've heard ones with stronger voices. If you have to sing with two strong voiced ladies at the same time, your voice must not disappear.
Aïdas voice is beautiful. I don't like screaming voices as some Violettas in La Traviata.
@@tonio7367 Do you need to direct films to see that a Dolph Lundgren action movie is a piece of shit? Or do you need to be terribly funny to know a comedian is awful? This falacy doesn´t work here.
@@martinparks6914
your too dramatic
02:09:17
02:14:15
1:10:12
OH HELP ME STAT!!!
Grande direzione del maestro Frizza Riccardo 👏👏👏👏molto bravi i cantanti 👍❤️❤️❤️
🌸💞
Not great, not terrible, just sort of lackluster. I'm not sure what the Grand March ballet was supposed to convey, but it just came across, like so many other elements, as kinda meh.
Watch the 1985 Met "Aida" with Leontyne Price it has the best staged ballet, not to mention Price's 3-minute ovation after her 'O Patria Mia'.
@@papagen00 Do you have a link to hand by any chance? Would love to compare.
Meli canta con il freno a mano tirato
Tenore is poor voice. Senza voce for Radames!!
I was so excited to see this production... the costumes the musicality all impressive but then it all came to a screeching halt when I saw Black Face. Black Face.... all the fabulous black talent and they decide to paint a white woman black! I'm Disgusted.
Literally my thought, forget the 2,5 hours of cultural appropriation of Egypt, but how on earth black face is still legal!!
Escuchando intdrcambios y ni qué decir a docentes y maestros de todo pelo.
Me viene un escallfrio.
La pregunta que me hago y
les hago:
Disculpa:
Cuál era tu vocación?
Conocí hace años a una señora directora de comedor escolar.
Ella se ocupaba de almuerzos y garrafas para cocinar.
Hace menos de una semana me encontré con una maestra , conocida, que acaba de jubilarse.
Feliz estoy me dijo:
Ahora ya no hay compromiso.
Nosotras cargábamos con bolsas de comestibles para las familias de los gurises.
En serio? Pregunté
¿ y qué energías , tiempos, dedicación para enseñar materias, temas, análisis, razonamiento, cuentas les quedaba?
Ay pobrecitos! Si no comen no pueden pensar.
Mas menos dijo.
Hay una falta de respeto generalizada.
Concluyo.
Por ser amable.
Una vez más.😅
Vraiment pas fan de la Mezzo, manque de médium et de grave.
The lighting of this production is too dark, you cannot see the expression of the singers Aida’s dark complexion is lost in the darkness you can only hear her.its a shame ! It’s like there is a power outage it’s a shame the whole production is ruined, feel sorry for the singers how can they even see the conductor? Ridiculous production!
メゾソプラノの音程の上擦り不安定なのが残念
She's doing a blackface? Unbelievable and disrespectful!
hi mark do good not like
Hoy escuché , en programa de tv, intercambio sobre obra de un grande del carnaval.
Bueno que en fin.
Yo prefiero escuchar en " crudo".
A mi, en lo personal insisto, ni me gustó , ni me gusta el tema La hermana de la coneja.
Educlcorantes a los frasquitos.
Con otras creaciones, suelo escuchar, como por ejemplo:
Mi propiedad privada dd Rosamel Araya
O de Javier Solis , casi cualquiera, jajaja
Bueno , en fin.
Arte una cosa.
Pavada otra.
Y ni que decir de la hjptz.
Blackfacing in the year 2018? Why is the opera world still so ignorant and backwards? When soprano Tamara Wilson refused to do it a few years back in Verona, she caused a scandal. Unbelievable and embarrassing. We should not forget that most composers were always trying to achieve something new and modern, ahead of their time. So spare me argueing with "this is what Verdi wanted".
Viva il pop moderno! Ahahahahahahah!
Great production sung by third-rate singers.
Is that tenor wearing blackface? lol